Ratings and Reviews by Rovarsson

The beginning of this game has you waking up in the broom closet of the pub after a brawl. The first thing you see is some kind of nonsensical ransom note about a treasure you know nothing about.

Up to you to figure out what this means.

Captain Cutter's Treasure is a straightforward pirate-themed game which unashamedly ticks a lot of standard boxes. A hidden treasure, a coded map, a damsel in distress,...

Nothing original, but great fun to run around interrogating drunken sailors and exploring the coastal town.

The NPCs have quite a lot to say besides the requisite clues they have to offer. Spend a few minutes with each one to find out what he or she thinks about the rest of the characters.

There is a definite appeal in the portrayal of the coastal town. It feels a bit like a LEGO model of a pirate adventure. All the necessary locations are there, and it doesn't take much to build a much larger world in your imagination from the few morsels of worldbuilding you are given.

The puzzles are easy when taken alone. The harder (but not really hard) part is to figure out how to get the optimal ending. It's no trouble at all to hunt around until you reached all three endings. Once you know the town and have talked to everyone the first time, it's a matter of minutes to do the preparations before trying a new path toward victory.

And now I'm going to rebuild my son's LEGO pirate ship. Arrr!

Stark, dry, rhythmic prose.

Dark, hazy, evocative art.

The whole becomes more than its parts.

Unseen others stalk you on your descent.

An otherwordly realm.


(inspired by the Adventuron-port
of the game)

You awaken to a wonderful day after a good night's sleep, ready to begin your duties as druid-priestess of Fort Aegea.

Alas, the day has not progressed far before life in your orderly settlement is disturbed by the arrival of the Green Dragon Phixio. He demands four thirty-year-old virgins to fulfill the conditions of an age-old pact (which you had no idea about, seeing that Fort Aegea was not yet built the last time Phixio came to eat some people from this area).

The introductory part of Fort Aegea made me want to play a longer simulationist game in this setting. As priestess, you are healer and spiritual helper to the inhabitants of a peaceful grain-processing settlement. You settle disputes between inhabitants and oversee the overall functioning of the harvest and distribution of the crops.
There are some books in your room with textdumps of background information about the history and geography of the game world. Reading these is not necessary for the game, but I enjoyed the wider view they provided very much.


This part of the game is very deeply implemented. Since your time before the arrival of the dragon is limited, I restarted several times to poke around in all corners of the town and try to see as much as possible. I encountered some trumy pleasant surprises.

The pace of the game changes radically once the Green Dragon shows up. As a wager to stall him, you must stay alive until nightfall. You are granted a small headstart to outrun the beast or hide long enough.

From a central hub location, you have immediate access to four areas. In each one, there is a straightforward/railroaded path through a few puzzles and back to the hub. The difficulty lies in finding the right sequence of moves before the dragon catches up. To accomplish this as the player, there will be a lot of try-die-repeat and even more UNDOing.

My recommendation: be sure to have a saved game at the hub and just take the deaths as they come.

Most of the puzzles are clever enough, some on the other hand are rather obscure. Aside from run-of-the-mill adventure techniques, you have a variety of spells at your disposal. The spells are based on a druids attunement with nature (water- and plantbending instead of burning the place down). They fit nicely with the puzzles without feeling too much like being custom-built solutions for one specific problem.

The writing is good. I personally found it too detailed and distanced to really pull me along emotionally, but it does a good job of painting a vivid image of the surroundings.

Similarly to The Jewel of Knowledge (which plays in the same world), a very enjoyable game in an interesting setting.

A cave, three dragons, a maze and the magical gemstone from the title. Sounds a bit much like a well known fantasy path already trodden into the mud, no?

A classic fantasy adventure is a pleasure to play if it's well made. And The Jewel of Knowledge is well made.

The cave is easily visualized, with three main paths to explore. On the way however, you will need to find and open several secret passageways and get to some hard-to-reach corners.

The maze is subtly hinted with an original solution.

The puzzles are clever without stopping you in your progress too long.

The dragons are impressive and hard to beat.

That makes for an adventure worthy of spending my time on. But! What really lifts The Jewel of Knowledge above your average cave-crawl is the personal perspective it takes to the protagonist and to the entire business of adventuring.

The (minimally) interactive prologue casts a thoughtful light on the entire game. It caused me to feel much more sympathetic towards the protagonist and to understand his personality and motifs better.

The ending tries to rise above cave-crawl expectations too, but doesn't succeed as well. It comes off more as a finger-wagging moral lesson.

Still, very good game.

Phew! Someone heard you! When adrift in interplanetary space, chances are slim that anybody would hear your distress signal in time. You received the coordinates, you probably have just enough juice left in the fuel cell. So yeah, very fortunate to be underway to that big... distant... abandoned... space station that is now being pelted with debris... and fired upon by a giant laser from the planet's surface...

Hmmm... Maybe not that fortunate, but you either dock here or die in your broken down spacecraft.

The space station in Deep Space Drifter is a compact and effective puzzle-space. A small number of rooms to explore, each with a clear function. Enough objects lying around to get a notion of the backstory and aid in some nifty puzzles. And there's a robot! The environment is sparsely but adequately described, and every few turns the narrative voice informs you that the station is shaking around you as a result of an explosion or an impact. While these messages help with the sense of being in a larger and quite vulnerable place, they do become repetitive to the point where you just skip them.

I dropped my inventory a lot in this part of the game. And not because I typed DROP a lot. I didn't methodically investigate, so I don't really know if it's a bug, if you lose your inventory each time the station gets hit, or if there are an inordinate amount of actions that implicitly DROP ALL (SIT does this for sure), or a combination of all the above. What I do know is that I often arrived at my destination ready to tackle an obstacle only to find that I was empty-handed. That involved some backtracking.

Since the space station is abandoned and empty, just refueling your own spaceship won't work. So, in the next part, you go down to the planetary surface. The game from this point on is very uneven.
I loved zipping around the underground tunnels in the shuttlecar (yes...) There are two very satisfying puzzles. There are also two very large mazes. And that's a pity. I thought both mazes had a really good concept that was drawn out far into tedium and boredom. I frankly didn't care anymore and went with the walkthrough. The concept could have been kept intact, and the mazes shrunk down into 10 room navigational/timing puzzles that would have been more engaging.

Some good puzzles, some good fun, but ultimately not enough.

Firebird is a loose and at times decidedly anachronistic retelling of a Russian folktale. A few (more-or-less) well-known personages from Russian culture make an appearance, there is the common recurrence of groupings of three (three gradually harder obstacles, three gradually more difficult foes,...) Despite the superficial references to Russian culture, however, the PC is basically a standard "adventure-prince". The PC actually acknowledges his own role as he yearns for a simpler life of making his own sandwiches and eating them in the forest. Unfortunately, there seems to be no way to derail the game's narrative towards an alternative ending where your prince gets to do exactly that. (He could take advantage of his lone quest to just vanish and go live as a farmer...)

Depending on the player's choice in the finale, there are two proper endings. They are very black-and-white moral opposites. Much more impressive are the many ways to actually get to the finale. NPCs and puzzles can almost all be handled in multiple ways, there are several paths to a certain far-off part of the map, there is an in-game portal back to the begionning of the game should you have forgotten a necessary object. The game is so forgiving of "mistakes" that they stop being mistakes, just new opportunities to handle a problem.

The implementation is a bit on the shallow side, and the game is a bit heavy on the micro-management. Many actions require in-between steps that could have been handled automatically.

The puzzles are mostly easy and straightforward. (Just make sure you have a nice and full inventory at all times. No limits to what you can carry!) I had the most fun with the elaborate cutscenes and descriptions at crucial turning points in the narrative.

A great game for a lazy afternoon.

The Legend game Eric the Unready takes the damsel-in-distress trope and uses it as a framework for a grand tour of wacky silliness and over-the-top parody.

The "chapters" of the story are implemented as stand-alone mini-adventures. Each of these is completely self-contained. The biggest of them has eight locations, and none of the puzzles is especially challenging (except for unintentional reasons, see below...)

The strongest point of Eric the Unready is certainly the humour. The constant barrage of slapstick, parody and some of the most groanworthy puns I ever heard kept me chuckling all the way through. Be that as it may, there still is such a thing as too much of a good thing. It seems as if every joke that sounded even remotely funny upon first thinking of it was included in the game. So there are a lot of just plain bad jokes in there.
A particular example of something that didn't work for me is the almost verbatim incorporation of a Monty Python scene. A television sketch works on facial expressions, tone of voice and, most importantly, tempo and rhythm. In translating this scene to IF, so much is lost that what is left feels pathetically uninspired.

The division of the overarching story into separate stand-alone bits makes it an extremely linear game. I don't really mind this, but I would have appreciated a bit more narrative tension as you progress to the later chapters. As it stands, the final chapter is no more serious or exciting than the introduction.

Although the puzzles can be rated as easy, I found that they are sometimes harder than (I suppose) intended. The utter silliness often stands in the way of logical cause-and-effect thinking, leading to a strategy of let's-try-anything-on-everything.

A very funny game, but not a very good one.

A loyal seaman of His King's Fleet, thrown off his ship in a terrible storm, thrown off his ship and into an indefinite time on an indefinite island.

What comes next, for the protagonist as well as the player, is adventure at its best: an unknown island full of apparently normal characters who always have something more to say than you would expect, and many clues as to why this island is not quite what it seems to be at first glance.

First, let me point out some negatives:
-There's a bug whenever you try to take something big through a narrow passage. A simple error message would have been disconcerting enough in a game as polished as this one, but a screen-and-a-half of detailed error-analysis took me out of the game enough to take a small break and pretend it never happened.
-It's frustrating that the game not only provides the option, but actively guides the player into making promises she's unable to keep. I spent many, many turns on trying to get back to the south-side to help my favourit NPC. This was made even worse when I found an object that could supposedly cut through rock, and then it didn't. Despite my unleashing all my powers of experimentation and SAVE-retry-RESTORE on it.

With those frustrations out of the way, let me continue to the amazing game Blighted Isle really is.

I tend to pay a lot of attention to the use of space, the connection of locations,the sense of a bigger world. Blighted Isle takes place on an island, which gives it a natural boundary. It's enclosed by water (obviously...) which is then encircled by a mysterious fog. There are a good number of hilltops to look out over the rest of the land. These facts together already make for a nice mix of claustrophobic (the barriers) and wide-open (the inlands). Append to that the promise of the land beyond, and the first part of the game is masterpiece of balancing the player's need to finding out every single thing there is to know against the story's drive to get to the North.

I cannot praise Blighted Isle enough for its characters. I refuse to call them NPCs. NPC, despite its obvious technical definition, draws images of cardboard and plastic. The Personages in Blighted Isle are much more than that. To experience the game/story to its fullest, you must ask them about anything that seems relevant to their backstory. Some responses moved me to tears. Good writing, that is...

But then, this personal form of writing loveable characters can also fall to bits. A young lady asking me if I Love her, or merely Like her, while we are crossing a plateau in between an unknown and possibly dangerous mountainous landscape seems a bit out of place...

Some of the puzzles flow naturally out of the conversations with the different NPCs. There are a few fetch-quests, some of which I could not (frustratingly) finish because they are tied to certain characters.
Other puzzles are quite common-sense, which can present an extra difficulty in an adventure game. (We're not used to normal-day-physics...)

The most important impression I got from playing Blighted Isle is "Adventure".
Not as a descendant of the original ADVENT, but as an interactive version of the children's books of Astrid Lindgren and Thea Beckman.

A real adventure.